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Intrigued by ""texted"" sonorities-the rhythms, musics, ordinary noises, and sounds of language in narratives-Julie Huntington examines the soundscapes in contemporary Francophone novels such as Ousmane Sembene's God's Bits of Wood (Senegal), and Patrick Chamoiseau's Solibo Magnificent (Martinique). Through an ethnomusicological perspective, Huntington argues in Sounding Off that the range of sounds -footsteps, heartbeats, drumbeats-represented in West African and Caribbean works provides a rhythmic polyphony that creates spaces for configuring social and cultural identities.Hunti

African fiction (French) --- Caribbean fiction (French) --- Sounds in literature. --- Rhythm in literature. --- Music in literature. --- Group identity in literature. --- History and criticism. --- Sounds in literature --- French fiction --- Caribbean literature (French) --- Sound in literature.

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The study of the senses has become a rich topic in recent years. Senses of Vibration explores a wide range of sensory experience and makes a decisive new contribution to this growing field by focussing not simply on the senses as such, but on the material experience - vibration - that underpins them. This is the first book to take the theme of vibration as central, offering an interdisciplinary history of the phenomenon and its reverberations in the cultural imaginary. It tracks vibration through the work of a wide range of writers, including physiologists (who thought vibrations in the nerve

Sound --- Vibration --- Sound in literature. --- Sensory stimulation. --- Vibration. --- Cycles --- Mechanics --- Perception --- Senses and sensation --- Sensory deprivation --- Sounds in literature --- Sound-waves --- Bioacoustics --- Psychological aspects. --- Physiological effect. --- Physiological effect

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This volume brings together a range of essays by eminent and emergent scholars working at the intersection of modern literary, cinema and sound studies. The individual studies ask what specific sonorous qualities are capable of being registered by different modern media, and how sonic transpositions and transferences across media affect the ways in which human subjects attend to modern soundscapes. Script, groove, electrical current, magnetic imprint, phonographic vibration: as the contributors show, sound traverses these and other material platforms to become an insistent ground-note of modern aesthetics, one not yet adequately integrated into critical accounts of the period. This collection also provides a commanding and wide-ranging investigation of the conditions under which modernists tapped technically into the rhythms, echoes and sonic architectures of their worlds.

Film --- English literature --- film [performing arts] --- sound [acoustics] --- anno 1800-1999 --- Sound (Philosophy) --- Sound in literature --- Sound in motion pictures --- Motion pictures --- Sounds in literature --- Philosophy --- film [discipline]

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Classical literature --- Sound in literature. --- Noise in literature. --- Littérature ancienne --- Son dans la littérature --- Bruit dans la littérature --- History and criticism. --- Histoire et critique --- Sounds in literature. --- Littérature ancienne --- Son dans la littérature --- Bruit dans la littérature

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The act of drawing a line or uttering a word is often seen as integral to the process of making art. This is especially obvious in music and the visual arts, but applies to literature, performance, and other arts as well. These collected essays, written by scholars from diverse fields, take a historical view of the richness of creation out of nothing (creatio ex nihilo) in order to draw out debates, sometimes implicit and sometimes formally stated, about the production and reproduction of cultural meaning in a period of great change and novelty, between the beginnings of the medieval intellectual tradition and the imprint of the Enlightenment. The authors pose the following questions: Do tradition and creativity conflict with one another, or are they complementary? What are the tensions between composition and live performance? What is the role of the audience in perceiving the object of art? Are such objects fixed or flexible? What about the status of the event? Is the event part of creation, in the sense that it disturbs the still waters of historical continuity? These and other questions build on the foundation of Roland Barthes' concept of Degree Zero, offering new insights into what it means to create.

Art --- anno 1000-1099 --- anno 1200-1499 --- anno 1100-1199 --- anno 1500-1799 --- Arts --- Arts, Medieval. --- Arts, Modern. --- Sound in art. --- Sound in literature. --- Silence in literature. --- Sounds in literature --- Modern arts --- Philosophy. --- Anthropology. --- Image. --- Literature. --- Music. --- Premodern History.